tailieunhanh - What “Rand’s Aesthetics” Is, and Why It Matters

The overall design of Terminal 3 was inspired by an aircraft wing and consists of two double, curved triangles on either side of a ribbon skylight that runs the length of the building. From the moment they arrive at the airport, this wing reminds passengers of the journey they are about to make. The triangular shape of the terminal also gives a visual indication of how passengers are distributed, with arriving passengers at the root of the wing where it is widest, departing passengers in the middle and train passen- gers at the tip, above the station platforms | Discussion Reply to The Aesthetics Symposium Spring 2001 What Rand s Aesthetics Is and Why It Matters1 Michelle Marder Kamhi This is the first of a two-part reply to our Spring 2001 symposium on Ayn Rand s philosophy of art. In our Fall 2003 issue we will publish part two written by Louis Torres. The Editors The Aesthetics Symposium is described in the journal s table of contents as a discussion of Ayn Rand s philosophy of art inspired by Louis Torres and Michelle Marder Kamhi s What Art Is The Esthetic Theory of Ayn Rand. The ten contributors vary widely in the extent to which they deal with either Rand s theory of art or our book however. While Lester Hunt and Jeff Riggenbach offer on the whole thoughtful though not necessarily approving responses to our analysis and application of Rand s theory two of the longest essays those by John Hospers2 and Barry Vacker scarcely touch on Rand s philosophy of art much less on our book. David Kelley focuses on two points we raised in Critical Neglect of Ayn Rand s Theory of Art Kamhi Torres 2000 a chapter omitted from the book and subsequently published in this Like Kelley Roger Bissell deals only with points related to that article not with the main thesis of our Michael Newberry deals exclusively with the application of Rand s concept of metaphysical value-judgments to the interpretation of paintings. Gene Bell-Villada appears to deal with the substance of our book in particular with our application of Rand s theory in Part II but he so often ignores or misconstrues our point that it is The Journal of Ayn Rand Studies 4 no. 2 Spring 2003 413-89. 414 The Journal of Ayn Rand Studies Vol. 4 No. 2 difficult to recognize ourselves in much of his account. Following a long aside on what he regards as Rand s shortcomings as a novelist Randall Dipert offers some thought-provoking reflections on our account of her analysis of the nature of music. Finally both Vacker and John Enright assume that Rand s aesthetics can

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